There’s a fan-generated 007 nickname that has gotten traction these days.

That would be the “Scooby Gang.” It’s shorthand for how supporting characters in the Eon Production film series join Bond out in the field. It’s based on the cartoon series Scooby-Doo, where the Scooby Gang of young people and a dog go out and solve mysteries together.

“Scooby Gang” was used in Buffy the Vampire Slayer, referring to the cartoon show.

Formerly, Bond was a lone-wolf. M would give 007 the mission. Q would provide some gadgets and Moneypenny would flirt before Bond departed the office.

That’s been changing for a while. In 1989’s Licence to Kill, Q (Desmond Llewelyn) goes rogue, as Bond (Timothy Dalton) has. He not only brings along some gadgets, he acts as 007’s assistant.

After Judi Dench came aboard as M in 1995’s GoldenEye, her character’s screen time expanded. That process started with 1999’s The World Is Not Enough where M’s kidnapping is a major aspect of the plot.

Finally, with 2012’s Skyfall, we got a rebooted Moneypenny (now with a first a name, Eve) who we initially see as a field agent. Also, the Judi Dench M scores more screen time than before because she’s a mother figure for both Bond (Daniel Craig) and the villain Silva (Javier Bardem).

In 2013, there was an early indication the Scooby Gang would come together in SPECTRE.

“Naomie Harris is getting more of the action in the next James Bond film, which starts shooting next year,” Baz Bamigboye of the Daily Mail wrote in a story published on Sept. 12 of that year.

Director Sam Mendes, Craig, and producers Barbara Broccoli and Michael G. Wilson are all big fans of Naomie’s and don’t want her to be too desk-bound, as other Moneypennys have been.

‘The idea formulating in Bond-land is for Naomie to be much more of a sidekick to James, and for her to get out and harm the bad guys,’ an executive close to the production told me.

Meanwhile, Judi Dench/M perished at the end of Skyfall and was succeeded by Mallory (Ralph Fiennes), who has his own impressive military background.

By the end of SPECTRE, M, Moneypenny, Q (Ben Whishaw) and Tanner (Rory Kinnear) are all out in the field helping Bond. And, thus, the Scooby Gang nickname was born. It has appeared on 007 message boards and elsewhere on the internet.

Now, there has been recent fan speculation/questioning whether Fiennes can return to play Mallory/M because of other acting jobs.

In the “old days,” few fans wondered about the availability of Llewelyn, Bernard Lee or Lois Maxwell. The actors only had a few days of work and the focus was on Bond. Llewelyn was absent from Live And Let Die, but most of the publicity and fan attention was on Roger Moore’s debut as 007.

We’ll see what happens next. Meanwhile, here’s an amusing tweet from Phil Nobile Jr., former writer for Birth. Movies. Death and now editor of a new incarnation of Fangoria magazine. He’s a big 007 fan and has written extensively about Bond films in the past.

Judi Dench filmed her M scenes in three days once upon a time. Just ease off the Scooby gang shit https://t.co/xqZ2vHiIlq

Graham Rye’s 007 Magazine is coming out with a special Pierce Brosnan issue.

Dubbed, Pierce Brosnan: Billion Dollar Bond, the publication looks at Brosnan’s four 007 films from 1995 to 2002. Brosnan’s debut in GoldenEye ended a six-year hiatus for the series produced by Eon Productions. Brosnan was also the last Bond actor selected by Eon co-founder Albert R. Broccoli.

The publication has 76 pages. The price is 19.99 British pounds, $30.99 in the U.S. and 26.99 euros. It is scheduled to ship during May. For more information, CLICK HERE.

United Artists is a forgotten studio today despite an illustrious history. It was founded in 1919 by Charlie Chaplin, Douglas Fairbanks, Mary Pickford and D.W. Griffith.

For James Bond fans, it was the studio that gave life to the cinematic 007. In 1961, UA, by then led by Arthur Krim, bought into the pitch by independent producers Albert R. Broccoli and Harry Saltzman. For two decades, UA financed the 007 movies.

Under Krim’s leadership, UA invested in other film properties, including The Magnificent Seven, West Side Story, In the Heat of the Night and movies starring The Beatles. Under Krim, UA acted more like a bank than a true studio, financing various independent producers. UA didn’t have actual studio facilities.

For first-generation 007 film fans, the UA logo (or lack thereof) was part of the theater experience. What follows is a look at what theater goers would see. Still other UA logos were devised for home video and television showings.

1962-1965: For the first four 007 films (Dr. No, From Russia With Love, Goldfinger, Thunderball), there was no UA logo. Just a black screen before the gunbarrel logo. Some fans look on those days fondly. Without a logo, it build up the anticipation for the gunnbarrel.

1967: Transamerica, an insurance and financial conglomerate, bought UA in 1967 while keeping Krim and his crew in charge.

The first Bond film with a UA logo was You Only Live Twice, the fifth entry in the Eon series. United Artists was identified as “a Transamerica company.” There was no music with the logo.

1969-1979: Tranamerica devised a stylized “T” logo that was incorporated with the United Artists logo.

Long-running UA logo under Transamerica ownership.

Theater goers would see the “T” logo come together, followed by the words, “United Artists, Entertainment From Transamerica Corporation.” There was still no music accompanying the logo.

This logo would run a full decade as far as the 007 series was concerned, beginning with 1969’s On Her Majesty’s Secret Service and running through 1979’s Moonraker.

However, behind the scenes, UA was undergoing challenges. Krim and his executives exited UA in the late 1970s, starting a new operation, Orion Pictures.

Various executives were promoted to replace them. That group (financially, at least) made a bet on director Michael Cimino and his movie Heaven’s Gate. It was a huge bomb. Would lead to….

UA logo, 1981

1981: Transamerica had enough with the unpredictable film business. The company sold off UA. The buyer was Metro-Goldwyn-Mayer, a studio weaker than its glory days of the 1930s-1950s.

When For Your Eyes Only came out, there was a UA logo without mention of Transamerica. Just “United Artists,” with white letters on a black background.

1980s MGM/UA logo

In 1983, MGM was now billing itself as MGM/UA Entertainment Co. That year, UA-branded films (including the 007 adventure Octopussy). were followed by “United Artists Presents.”

With A View To a Kill, things were simplified, with just the MGM/UA logo.

UA logo, late 1980s

However, toward the latter part of the 1980s, a new stylized UA logo following a new MGM/UA logo (without MGM’s Leo the Lion in it).

Music accompanied the MGM/UA logo. When it switched to the UA logo there would be a “swoosh” sound effect.

This would be seen in 1987’s The Living Daylights and 1989’s Licence to Kill. What’s more, it shows up on some television versions of 007 films.

However, another shakeup was in store.

MGM in the early 1990s was in financial turmoil after it changed hands and called itself MGM-Pathe. French bank Credit Lyonnais took over MGM in 1991. Danjaq, the parent company of Eon Productions, also sued MGM following an MGM sale of television rights to the 007 film series that Danjaq/Eon felt undervalued the movies.

UA logo in 1995

It wouldn’t be until 1995 things were sorted out where the Bond film series could resume with GoldenEye. (The bank would eventually sell MGM to Kirk Kerkorian, a previous owner of the studio.)

A new United Artists logo debuted with the words, “United Artists Pictures Inc.” Lights came together to form the words “United Artists.”

UA logo 1997

When 1997’s Tomorrow Never Dies was released, the logo was tweaked slightly to say, “United Artists, An MGM Company.”

What’s more, versions of this logo were also used in home video releases of Bond films in the late 1990s. They were attached to the early 007 movies without logo and replaced UA-Transamerica logos in other movies.

And then, as far as Bond was concerned, it was over.

MGM 1999 logo used with The World Is Not Enough

Starting with 1999’s The World Is Not Enough, Bond movies were now marketed under the main MGM brand name. That film included a version of the familiar MGM logo noting the studio’s 75th anniversary with the words, “A legacy of excellence.”

From this point forward, the only reminder of the UA days for Bond would be deep in the titles in the copyright notice where United Artists Corp. would be listed as one of the copyright holders.

Footnote: MGM revived the United Artists brand, cutting a 2006 deal with Tom Cruise’s production company. That resulted in the 2008 movie Valkyrie.

Footnote II: Orion Pictures, the outfit founded by the former UA executives, is part of MGM.

Apparently pre-Craig era 007 cinematography, like this Alec Mills shot from The Living Daylights, was the work of hacks.

The Film School Rejects website, in a post last month, said the cinematography of James Bond films during the Daniel Craig era was noticeably better than its predecessors.

An excerpt:

All the earlier efforts were, with due respect, vehicles for action sequences, there was little to nothing dynamic about their cinematography otherwise, and even the action sequences were more dazzling for their production design than for the way they were shot.

But with Casino Royale, directed by Martin Campbell and shot by Phil Mehuex, the cinematography of the franchise leapt forward, becoming every bit as slick, stark, daring, and as fluidly brutal as the character whose adventures it captured. It was a pattern that continued through Quantum of Solace (dir. Marc Forster, DP Roberto Schaefer), Skyfall (dir. Sam Mendes, DP Roger Deakins), and Spectre (dir. Mendes, DP Hoyte Van Hoytema) and as a result the Craig-Bond-era has been uniquely successful for the historic franchise. (emphasis added)

A few things:

— Mehuex also photographed 1995’s GoldenEye (which was also directed by Campbell). Was Meheux a hack during GoldenEye who became an artist 11 years later? Was his photography in Casino Royale that much better than his work in GoldenEye?

–Pre-Craig 007 directors of photography weren’t exactly slouches. Ted Moore, the original DOP, won an Oscar for 1966’s A Man For All Seasons. Freddie Young, who photographed 1967’s You Only Live Twice, won three Oscars and was described by director Lewis Gilbert as one of the great artists of British cinema.

Oswald Morris, co-DOP of The Man With The Golden Gun, won an Oscar and had two nominations. (With Golden Gun, he took over for Ted Moore, who fell ill, and photographed interior sequences. Both Moore and Oswald shared the DOP credit.) Claude Renior, who photographed The Spy Who Loved Me, was highly regarded.

–Other 007 DOPs had their moments. Alec Mills, who had been promoted up the ranks until photographing 1987’s The Living Daylights, had a striking shot during that movie’s Afghanistan sequence.

The Film School Rejects’ post includes a video with a sort of “best of” video of shots from the Craig era. See for yourself.

On Twitter, the MI6 James Bond website raised an interesting question: Should Bond 25, coming out in 2019, be “dedicated to the memory of Roger Moore’, like TND was for Cubby Broccoli?”

Eon Productions, which produces the 007 films series, has been a bit inconsistent when it comes to on-screen acknowledgements of those who helped make the series what it is.

When GoldenEye came out, following a six-year hiatus, there was no mention of 13-time screenwriter Richard Maibaum or long-time titles designer Maurice Binder.

Maibaum and Binder both died in 1991, during the long stretch when the Bond film franchise lay dormant.

However, special effects and miniatures guru Derek Meddings was mentioned in the end titles. (“To the memory of DEREK MEDDINGS”). This was his first Bond film since 1981’s For Your Eyes Only and he passed away about two months before GoldenEye was released.

The release of 1997’s Tomorrow Never Dies occurred after the 1996 death of Eon co-founder Albert R. Broccoli, the father of Eon boss Barbara Broccoli and the stepfather of Eon’s Michael G. Wilson. Understandably, this was acknowledged in the end titles (“In loving memory of ALBERT R. “CUBBY’ BROCCOLI”).

Bond 25 is scheduled for a U.S. release of November 2019 (even though, as this is being written, no distribution agreement has been announced). It will be the first 007 film to come out after one of the James Bonds of Eon’s series has passed away.

This may be a relatively minor point. But it remains to be seen whether Roger Moore, who played Bond more than any actor in the Eon series, is acknowledged in the next film adventure.

Our post the other day about the anniversary of Licence to Kill’s release got the blog to thinking about what followed: The six-year hiatus in James Bond film production.

Like the earlier post, this is more of a personal take on the events.

The thing is, in those pre-internet days, the news was much slower in getting around. During much of this period, I saw a number of items in The Wall Street Journal. I had a subscription at the time.

Also, the extent of what was going on wasn’t immediately evident.

There were reports in the trade press that director John Glen and screenwriter Richard Maibaum wouldn’t be returning to the series. This was the first indication (at least to me) that a big makeover, rather than minor tweaks, was in store.

There were occasional stories about potential new directors and screenwriters. Things got more serious when it was announced that Danjaq, parent company of Eon Productions, was putting itself up for sale. Eventually, no sale occurred, but seeing the original announcement was an eye-opener.

What’s more, the soap opera at Metro-Goldwyn-Mayer, Bond’s home studio, went into overdrive. MGM was bought and sold again, with a bank (Credit Lyonnais) taking over the operation. Bond fans now needed to read the business pages of newspapers just to keep things straight.

Also, Danjaq/Eon filed a lawsuit related to what was going on with MGM. It was clear the next James Bond film wouldn’t be made soon. Even when the lawsuit was settled (I had a chance to read the press release at my office), it still wasn’t clear when production would resume.

Timothy Dalton

During this period, there were questions about what would happen with the incumbent 007, Timothy Dalton. Geraldo Rivera had a syndicated U.S. television show at the time and one broadcast was devoted to Bond. Some Bond experts participated. Rivera asked if Dalton would be back. The experts said they expected him to return.

Finally came the announcement that Dalton was gone. What was going to happen next?

Attention turned to Pierce Brosnan, who lost out on his chance to play Bond in 1986, when Dalton got the nod.

Brosnan had been signed (and it’s detailed in the Inside The Living Daylights documentary that’s part of home video release), but NBC reacted by ordering more episodes of Remington Steele. That, of course, was what gave Dalton his opportunity to play Bond.

In 1994, shortly before the casting decision was announced, The Wall Street Journal weighed in with a long front-page story about the Bond search and that it was not a clear-cut choice.

Still, Bond had been away from theater screens for quite a while. Eon did something it had never done — having an official James Bond fan conventions in the fall of 1994 and 1995 (the latter days before the premiere of GoldenEye).

That was part of an effort to revive interest in Bond. For hard-core fans, they were anxiously waiting all along. Still, both conventions were interesting to attend. For some fans, it was a chance to meet like-minded people they had never had a chance to encounter before.

In the end, Bond resumed production. 007 even maintained an every-other-year schedule until the end of the 1990s.

Still, looking back at the hiatus, it’s a reminder that film franchises — for fans, for productions companies, for studios — can’t be taken for granted.

This week’s 10th anniversary of Casino Royale generated a number of stories crediting the 21st James Bond film with saving the franchise.

However, this wasn’t the first time the series, in the eyes of some, had been saved. What follows is a list of four.

Diamonds Are Forever (1971): Sean Connery returned to the Eon Productions fold for a one-off after 1969’s On Her Majesty’s Secret Service.

Producers Albert R. Broccoli and Harry Saltzman weren’t looking for Connery’s return. But United Artists executive David V. Picker was. As a result of efforts by Picker, Connery was offered, and accepted, a $1.25 million salary coupled with other financial goodies. John Gavin, who had been signed as Bond, was paid off.

Diamonds rebounded to $116 million, better than Twice but still not at Thunderball levels. Nevertheless. Picker has argued his strategy of getting Connery back kept the series going.

The Spy Who Loved Me (1977): The 10th 007 film was made after Broccoli and Saltzman dissolved their partnership, with UA buying out Saltzman.

What’s more, the box office for the previous series entry, The Man With the Golden Gun, had plunged almost 40 percent from Roger Moore’s Bond debut, Live And Let Die.

As a result, there was anxiety associated with the production. Spy ended up re-establishing Bond, in particular the Roger Moore version. The movie produced a popular song, Nobody Does It Better, and the film received three Oscar nominations.

GoldenEye (1995): The 17th Bond adventure made its bow after a six-year hiatus, marked by legal fights. Albert R. Broccoli, at one point, put Danjaq and Eon on the market, though no sale took place.

The question was whether 007, now in the person of Pierce Brosnan, could resume being a successful series. The previous entry, Licence to Kill, didn’t do well in the U.S., finishing No. 4 in its opening weekend, even though it was the only new movie release released that weekend.

Meanwhile, GQ.com ran a article saying Casino was the best 007 film while Forbes.com aruged the movie “provides a helpful template in terms of doing the reboot just right.”

If Casino saved the franchise, it wasn’t necessarily in a financial sense. 2002’s Die Another Day was a success at the box officce. But Barbara Broccoli and Michael G. Wilson were having a creative mid-life crisis.